And the Rest, As They Say, Is History and Audiences
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See It Big! Action Features More Than 30 Action Movie Favorites on the Big
FOR IMMEDIATE RELEASE ‘SEE IT BIG! ACTION’ FEATURES MORE THAN 30 ACTION MOVIE FAVORITES ON THE BIG SCREEN April 19–July 7, 2019 Astoria, New York, April 16, 2019—Museum of the Moving Image presents See It Big! Action, a major screening series featuring more than 30 action films, from April 19 through July 7, 2019. Programmed by Curator of Film Eric Hynes and Reverse Shot editors Jeff Reichert and Michael Koresky, the series opens with cinematic swashbucklers and continues with movies from around the world featuring white- knuckle chase sequences and thrilling stuntwork. It highlights work from some of the form's greatest practitioners, including John Woo, Michael Mann, Steven Spielberg, Akira Kurosawa, Kathryn Bigelow, Jackie Chan, and much more. As the curators note, “In a sense, all movies are ’action’ movies; cinema is movement and light, after all. Since nearly the very beginning, spectacle and stunt work have been essential parts of the form. There is nothing quite like watching physical feats, pulse-pounding drama, and epic confrontations on a large screen alongside other astonished moviegoers. See It Big! Action offers up some of our favorites of the genre.” In all, 32 films will be shown, many of them in 35mm prints. Among the highlights are two classic Technicolor swashbucklers, Michael Curtiz’s The Adventures of Robin Hood and Jacques Tourneur’s Anne of the Indies (April 20); Kurosawa’s Seven Samurai (April 21); back-to-back screenings of Mad Max: Fury Road and Aliens on Mother’s Day (May 12); all six Mission: Impossible films -
The Whistleblowers
A U S F I L M Australian Familiarisation Event Mathew Tang Producer Mathew Tang began his career in 1989 and has since worked on over 30 feature films, covering various creative and production duties that include assistant directing, line-producing, writing, directing and producing. In 1999, Mathew debuted as a screenwriter on The Kid, a film that went on to win Best Supporting Actor and Actress in the Hong Kong Film Awards. In 2005, he wrote, edited and directed his debut feature B420 which received The Grand Prix Award at the 19th Fukuoka Asian Film Festival and Best Film at the 4th Viennese Youth International Film Festival in 2007. Mathew served as Associate Producer and Line Producer on Forbidden Kingdom and oversaw the Hollywood blockbuster’s entire production in China. In 2008 and 2009 he was Vice President of Celestial Pictures. From 2009- 2012, he was the Head of Productions at EDKO Films Ltd. In the summer of 2012, he founded Movie Addict Productions and the company produced four movies. Mathew is currently an Invited Executive Member of the Hong Kong Screenwriters’ Guild and a Panel Examiner of the Hong Kong Film Development Council. Johnny Wang Line Producer Johnny Wang started working for the movie industry in 1989 and by the year 2002, he started working at Paramount Studios on the project Tomb Raider 2 as production supervisor on location in Hong Kong. Since then, he has line produced 20 movies in Hong Kong, China and other locations around the world. Johnny has been an executive board member of the HKMPEA (Hong Kong Movie Production Executives Association) for more than four years. -
Bullet in the Head
JOHN WOO’S Bullet in the Head Tony Williams Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © Tony Williams 2009 ISBN 978-962-209-968-5 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Condor Production Ltd., Hong Kong, China Contents Series Preface ix Acknowledgements xiii 1 The Apocalyptic Moment of Bullet in the Head 1 2 Bullet in the Head 23 3 Aftermath 99 Appendix 109 Notes 113 Credits 127 Filmography 129 1 The Apocalyptic Moment of Bullet in the Head Like many Hong Kong films of the 1980s and 90s, John Woo’s Bullet in the Head contains grim forebodings then held by the former colony concerning its return to Mainland China in 1997. Despite the break from Maoism following the fall of the Gang of Four and Deng Xiaoping’s movement towards capitalist modernization, the brutal events of Tiananmen Square caused great concern for a territory facing many changes in the near future. Even before these disturbing events Hong Kong’s imminent return to a motherland with a different dialect and social customs evoked insecurity on the part of a population still remembering the violent events of the Cultural Revolution as well as the Maoist- inspired riots that affected the colony in 1967. -
Sungkyun Journal of East Asian Studies
Sungkyun Journal of East Asian Studies On the Rooftop: A Study of Marginalized Youth Films in Hong Kong Cinema Xuelin ZHOU University of Auckland Sungkyun Journal of East Asian Studies. Vol. 8, No. 2 ⓒ 2008 Academy of East Asia Studies. pp.163-177 You may use content in the SJEAS back issues only for your personal, non-commercial use. Contents of each article do not represent opinions of SJEAS. Sungkyun Journal of East Asian Studies. Vol.8, No.2. � 2008 Academy of East Asian Studies. pp.163-177 On the Rooftop: A Study of Marginalized Youth Films in Hong Kong Cinema1 Xuelin ZHOU University of Auckland ABSTRACT Researchers of contemporary Hong Kong cinema have tended to concentrate on the monumental, metropolitan and/or historical works of such esteemed directors as Wong Kar-Wai, John Woo and Tsui Hark. This paper focuses instead on a number of low-budget films that circulated below the radar of Chinese as well as Western film scholars but were important to local young viewers, i.e. a cluster of films that feature deviant and marginalized youth as protagonists. They are very interesting as evidence of perceived social problems in contemporary Hong Kong. The paper aims to outline some main features of these marginalized youth films produced since the mid-1990s. Keywords: Hong Kong, cinema, youth culture, youth film, marginalized youth On the Rooftop A scene set on the rooftop of a skyscraper in central Hong Kong appears in New Police Story(2004), or Xin jingcha gushi, by the Hong Kong director Benny Chan, an action drama that features an aged local police officer struggling to fight a group of trouble-making, tech-savvy teenagers.2 The young people are using the rooftop for an “X-party,” an occasion for showing off their skills of skateboarding and cycling, by doing daredevil stunts along the edge of the building. -
Chinese Filmmakers in the United States Wimal Dissanayake
East Goes West - Chinese Filmmakers in the United States Wimal Dissanayake “Hong Kong in the Hollywood Imaginary: De-territorializations and Re- territorializations in John Woo’s Films” Over the past few decades, Hong Kong cinema has been an enabling and unsettling presence in the imaginary of Hollywood. I am using the term imaginary with its Lacanian overtones; Lacan identified three orders of understanding – real, symbolic and imaginary; imaginary refers to the domain of images. There have been a number of Hong Kong filmmakers who have impressed Hollywood such as John Woo, Wong- Kar Wai, Tsui Hark, Stanley Kwan, Ringo Lam, Johnny To. Among them, John Woo has been, in many ways, the most visible and consequential. Therefore, when examining the presence of Hong Kong cinema in Hollywood it is only natural that one turns to the work of John Woo. Interestingly, Jean-Claude Van Damme once remarked that Woo is ‘Martin Scorsese of Asia.’ John Woo is the author of such well-known films as A Better Tomorrow (1986), The Killer (1989), A Bullet in the Head (1990) and Hard Boiled (1992). These films served to gain international recognition for him and he was invited to make films in Hollywood. The result was such products as Face/Off and Mission: Impossible 2. He also has influenced a number of younger Asian film directors such as Johnny To and several Korean directors and Hollywood filmmakers such as Quentin Tarantino and Robert Rodriguez. The aim of this paper is to examine the way the ideas of de- territorialization and re-territorialization function in John Woo’s films in a way that make them attractive to Hollywood and Western audiences. -
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Humanity 2012 Papers. ~~~~~~ “‘We are all the same, we are all unique’: The paradox of using individual celebrity as metaphor for national (transnational) identity.” Joyleen Christensen University of Newcastle Introduction: This paper will examine the apparently contradictory public persona of a major star in the Hong Kong entertainment industry - an individual who essentially redefined the parameters of an industry, which is, itself, a paradox. In the last decades of the 20th Century, the Hong Kong entertainment industry's attempts to translate American popular culture for a local audience led to an exciting fusion of cultures as the system that was once mocked by English- language media commentators for being equally derivative and ‘alien’, through translation and transmutation, acquired a unique and distinctively local flavour. My use of the now somewhat out-dated notion of East versus West sensibilities will be deliberate as it reflects the tone of contemporary academic and popular scholarly analysis, which perfectly seemed to capture the essence of public sentiment about the territory in the pre-Handover period. It was an explicit dichotomy, with commentators frequently exploiting the notion of a culture at war with its own conception of a national identity. However, the dwindling Western interest in Hong Kong’s fate after 1997 and the social, economic and political opportunities afforded by the reunification with Mainland China meant that the new millennia saw Hong Kong's so- called ‘Culture of Disappearance’ suddenly reconnecting with its true, original self. Humanity 2012 11 Alongside this shift I will track the career trajectory of Andy Lau – one of the industry's leading stars1 who successfully mimicked the territory's movement in focus from Western to local and then regional. -
Chungking Express.Pdf
Chungking Express BEFORE VIEWING – BEFORE READING SYNOPSIS TASK ■ With a partner, discuss and record your expectations of a film called Chungking Express which has been made in Hong Kong. After viewing the film you should compare notes with your partner to see how many of your expectations have been confirmed or contradicted. SYNOPSIS Cult Hong Kong filmmaker Wong Kar Wai’s Chungking Express is a stylish combination of romance, dead-pan comedy and film noir set in and around Hong Kong’s notorious Chunking Mansions, a complex of shabby hostels, bars and clubs teaming with illegal immigrants. The story centres on a small takeaway stall, the Midnight Express, which is frequented by two lovelorn Cops (223, Takeshi Kaneshiro and 633, Tony Leung Chiu Wai). They become involved with a mysterious drug dealer dressed in a blonde wig and sunglasses (Brigitte Lin), on the run from drug traffickers, and an impulsive young dreamer (Faye Wong) who works behind the counter of the Midnight Express. The central concerns of the film are identity and our reluctance to show, or to accept, who we truly are. The Brigitte Lin character wears a wig and sunglasses to hide her true self. Cop 223 refuses to accept the fact that his girlfriend has left him. The waitress (Faye Wong) secretly cleans the apartment for Cop 633 who avoids reading a goodbye note from his ex- girlfriend and is unable to realise that his apartment is getting cleaner and cleaner. BACKGROUND FOR WONG KAR WAI Wong Kar Wai belongs to the mid-1980s Second New Wave of Hong Kong filmmakers who continued to develop the innovative approaches initiated by the original Hong Kong New Wave, which included directors such as Tsui Hark, Ann Hui and Patrick Tam. -
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16 發光的城市 A R O U N D T O W N FRIDAY, JULY 11, 2008 • TAIPEI TIMES ith an US$80 million budget, military wisdom is made sexy and which makes Red Cliff (赤 enthralling when Takeshi Kaneshiro and W 壁) the most lavish Asian Tony Leung Chiu-wai take on the roles of production to date, and a running master tacticians in a complex battle that time of more than four hours, which Once more unto the RED CLIFF (赤壁) involves a maze-like military formation. has seen the movie split into two Woo’s unconventional interpretations installments, John Woo’s (吳宇森) DIRECTED BY: JOHN WOO (吳宇森) of historical figures have caused Chinese sword-and-sandals epic marks controversy. Doubts serviced when the a triumphant return home for the STARRING: TONY LEUNG CHIU-WAI (梁朝 director cast Japanese-Taiwanese actor director after 16 years in Hollywood. 偉) AS ZHOU YU, TAKESHI KANESHIRO (金城 Takeshi Kaneshiro as one of China’s Set in the Three Kingdoms period 武) AS ZHUGE LIANG, ZHANG FENGYI (張豐 most revered scholars. If audiences of China’s history and centering on the 毅) AS CAO CAO, CHANG CHEN (張震) AS SUN expect the heartthrob to exude Chinese legendary Battle of Red Cliffs (赤壁之 QUAN, LIN CHI-LING (林志玲) AS XIAO QIAO, virtue and be the living embodiment 戰), the epic sees Woo live up to his Not all Chinese sword-and-sandals epics are made HU JUN (胡軍) AS ZHAO YUN, ZHAO WEI of intellectuality, they’ll be sorely breach (趙薇) AS SUN SHANGXIANG, NAKAMURA reputation as a masterful storyteller who equal, as John Woo proves with his lavish production, disappointed. -
House of the Flying Daggers Song
House of the flying daggers song Jia Ren Qu WITHOUT drunk guy's singing voice, he really ruined it the song in the original version. In this. Preformed by Zhang Ziyi Composed by Shigeru Umebayashi. From the soundtrack of the film: House of Flying Daggers, directed by Zhang Yimou and starring Andy Lau. lyrics bei fang you jia ren jue shi er du li yi gu qing ren cheng zai gu qing ren guo ning bu zhi qing. Lovers (title song) from the movie "House of the Flying Daggers" performed by Kathleen Battle. Lovers - Kathleen Battle, Shigeru Umebayashi Title song from the: House Of Flying Daggers There was a field in my old town where we always. Beauty Song (Jia Ren Qu) - House of Flying Daggers - Duration: Tenten Chu , views · The soundtrack was produced and created by Shigeru Umebayashi, (十面埋伏) - ; "Leo's Theme" - ; "Mei and Leo" - ; "The House of Flying Daggers" - ; "Lovers- Mei and Jin" - ; "Farewell No. In the movie 十面埋伏(House of Flying Daggers), there's is this song 佳人歌(The Beauty Song), which is a poem written around 80 BCE, and is. I hope someone here can help me, I want to learn the lyrics to the song near the beginning of House of the Flying Daggers. Here's a link to it. Shigeru Umebayashi, Kathleen Battle - House of Flying Daggers (Original Motion Picture Soundtrack) - Music. after viewing this item? Hero (Music From the Original Soundtrack) Audio CD. Tan Dun Beauty Song (Jia Ren Qu). House of Flying Daggers (Original Motion Picture Soundtrack) • 20 songs. Play on Spotify. -
Journal of Asian Studies Contemporary Chinese Cinema Special Edition
the iafor journal of asian studies Contemporary Chinese Cinema Special Edition Volume 2 – Issue 1 – Spring 2016 Editor: Seiko Yasumoto ISSN: 2187-6037 The IAFOR Journal of Asian Studies Volume 2 – Issue – I IAFOR Publications Executive Editor: Joseph Haldane The International Academic Forum The IAFOR Journal of Asian Studies Editor: Seiko Yasumoto, University of Sydney, Australia Associate Editor: Jason Bainbridge, Swinburne University, Australia Published by The International Academic Forum (IAFOR), Japan Executive Editor: Joseph Haldane Editorial Assistance: Rachel Dyer IAFOR Publications. Sakae 1-16-26-201, Naka-ward, Aichi, Japan 460-0008 Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 IAFOR Publications © Copyright 2016 ISSN: 2187-6037 Online: joas.iafor.org Cover image: Flickr Creative Commons/Guy Gorek The IAFOR Journal of Asian Studies Volume 2 – Issue I – Spring 2016 Edited by Seiko Yasumoto Table of Contents Notes on contributors 1 Welcome and Introduction 4 From Recording to Ritual: Weimar Villa and 24 City 10 Dr. Jinhee Choi Contested identities: exploring the cultural, historical and 25 political complexities of the ‘three Chinas’ Dr. Qiao Li & Prof. Ros Jennings Sounds, Swords and Forests: An Exploration into the Representations 41 of Music and Martial Arts in Contemporary Kung Fu Films Brent Keogh Sentimentalism in Under the Hawthorn Tree 53 Jing Meng Changes Manifest: Time, Memory, and a Changing Hong Kong 65 Emma Tipson The Taste of Ice Kacang: Xiaoqingxin Film as the Possible 74 Prospect of Taiwan Popular Cinema Panpan Yang Subtitling Chinese Humour: the English Version of A Woman, a 85 Gun and a Noodle Shop (2009) Yilei Yuan The IAFOR Journal of Asian Studies Volume 2 – Issue 1 – Spring 2016 Notes on Contributers Dr. -
December 1998
JANUARY - DECEMBER 1998 SOURCE OF REPORT DATE PLACE NAME ALLEGED DS EX 2y OTHER INFORMATION CRIME Hubei Daily (?) 16/02/98 04/01/98 Xiangfan C Si Liyong (34 yrs) E 1 Sentenced to death by the Xiangfan City Hubei P Intermediate People’s Court for the embezzlement of 1,700,00 Yuan (US$20,481,9). Yunnan Police news 06/01/98 Chongqing M Zhang Weijin M 1 1 Sentenced by Chongqing No. 1 Intermediate 31/03/98 People’s Court. It was reported that Zhang Sichuan Legal News Weijin murdered his wife’s lover and one of 08/05/98 the lover’s relatives. Shenzhen Legal Daily 07/01/98 Taizhou C Zhang Yu (25 yrs, teacher) M 1 Zhang Yu was convicted of the murder of his 01/01/99 Zhejiang P girlfriend by the Taizhou City Intermediate People’s Court. It was reported that he had planned to kill both himself and his girlfriend but that the police had intervened before he could kill himself. Law Periodical 19/03/98 07/01/98 Harbin C Jing Anyi (52 yrs, retired F 1 He was reported to have defrauded some 2600 Liaoshen Evening News or 08/01/98 Heilongjiang P teacher) people out of 39 million Yuan 16/03/98 (US$4,698,795), in that he loaned money at Police Weekend News high rates of interest (20%-60% per annum). 09/07/98 Southern Daily 09/01/98 08/01/98 Puning C Shen Guangyu D, G 1 1 Convicted of the murder of three children - Guangdong P Lin Leshan (f) M 1 1 reported to have put rat poison in sugar and 8 unnamed Us 8 8 oatmeal and fed it to the three children of a man with whom she had a property dispute. -
Bamcinématek Presents Stephen Chow: the King of Comedy, Oct 6—12
BAMcinématek presents Stephen Chow: The King of Comedy, Oct 6—12 “The reigning king of Hong Kong comedy.”—J. Hoberman Co-presented with the Hong Kong Economic and Trade Office in New York. The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/Sep 8, 2014—From Monday, October 6 through Sunday, October 12, BAMcinématek presents Stephen Chow: The King of Comedy, an eight-film retrospective of the Hong Kong actor, writer, and director. Chow’s audaciously anarchic comedies combine surreal sight gags, non sequiturs, extensive pop culture quoting, and gravity-defying martial arts to sublimely silly effect. Endlessly inventive, the reigning king of Hong Kong mo lei tau (―nonsense comedy‖) yields unfiltered cinematic pleasure. Initially prominent as a children’s television star, Chow became synonymous with mo lei tau, a style of film comedy in which traditional melodramas and kung fu tales are peppered with rapid- fire, fourth-wall-breaking slapstick bits and corny puns. A bigger box-office draw in his homeland than Jackie Chan or Jet Li, Chow—who cites Spielberg and Kubrick, along with Jim Carrey, as influences—has used his clout in recent years to fashion himself as an auteur, scripting, editing, and directing a series of high-budget, homage-filled blockbusters. Typical of Chow’s earliest hits, Johnnie To’s Justice, My Foot! (1992—Oct 8) casts the actor as a fast-talking lawyer whose mouth gets him into trouble, and whose kung fu-fighting wife gets him out of it—one of many tough, smart heroines Chow uses as foils for his feckless alter egos.